Lift @ Citilab in Barcelona

Last saturday at Citilab in Cornella, near Barcelona, Fabien and myself organized a "lift @ home" event. A one-day long workshop, this event was called "Hands on Barcelona's Informational Membrane. It was part of a series of seminar about the new practices as well as the visions and issues around the hybridization of the digital and the physical in cities. We focused on the informational membrane hovering over Barcelona and try to sketch near-future scenarios with datasets and infrastructures existing in city. The goal was to understand a contemporary urban software infrastructures and explore the implications (trade-offs, opportunities and concerns) in the data they generate. The effort was put on Barcelona’s specific issues (e.g. mobility, infrastructure, tourism, gentrification, ecology …) and their related datasets.

We had a group of 30 participants coming from very diverse backgrounds: designers, engineers, people from the city of Barcelona, ethnographers, architects, etc. both from the area and abroad. We started from a presentation&discussion about the general problems of Barcelona and the available data. Then small groups have been formed to work on how to use the existing infrastructures and data to create potential solutions in terms of services. The assignments led people to go beyond traditional techno-determinism to envision social and organizational framing.

We're working on a short write-up document for this workshop. Something that would summarize the findings and pave the way for upcoming seminars.

Digital traces and tourism

Yesterday in Sierre, I gave a talk about the use and implications of digital traces for tourism services. Slides are on Slideshare. [slideshare id=2312286&doc=etourismforum2009nova-091021135319-phpapp02]

The point of the talk was the following: we're seeing the advent of location-based services and augmented reality applications. But those are only the "interface" aspect of a broader phenomena: the aggregation and use of digital data to create new sorts of services. Indeed digital objects used by people such as mobile phones and cameras leave a large amount of traces: the phone can be geolocated through cell-phone antennas or GPS and digital cameras take pictures that people can upload on web sharing platforms such as Flickr. All of this enable new application that allow to count tourists or provide them with new sorts of services. Based on existing experiments, the presentation addressed how the tourism industry can benefit from these digital traces to obtain new representations of tourists activities and to build up new services based on them.

Thanks Roland Schegg for the invitation.

Ubiquitous obama representations

Following Julian, different forms of Obama representations that I refer to as "Obamania" in my Flickr stream. The "Obama" pizza in Paris:

Street graffiti in Saint Etienne and Geneva:

An ad poster in Paris:

Why do I blog this? these iconic representations are quite interesting in terms of diversity and the meaning it certainly evokes to people. A sort of meme that finds it way onto the urban fabric. Nothing really new here but it's always curious to spot this.

GPS failed pattern: wrong door

I think it would be good to start a catalogue of weird "failed GPS paths" patterns. The one above could be called "right way, wrong door". The other day I Geneva, while going to a seminar, my iPhone GPS gave me this curious set of information that I liked a lot. I was looking for a building I've never been into and used the GPS device to help me.

The "path solution" it gave me is the one above, strip naked in terms of urban elements (for some reasons, it's only a grid as if I was playing "Space harrier"). I simply had to go back on the avenue and find the entrance on the other side of the building. It left me wondering about the way navigation database are aware of building entrance, surely a parameter that add a layer of complexity.

Upcoming speeches and workshops

Some events where I'll be speaking at or be involved in as an organizer. Perhaps an opportunity to meet up some readers, I generally do not publicize this but some of you asked me to keep them posted.

Next wednesday (October 21st), I'll be the keynote speaker at the Swiss E-Tourism Forum in Sierre (Switzerland). My talk will be entitled "the near future of tourism services based on digital traces" (yes, I've been asked to give the talk in English, this is Switzerland) and this is the outline:

"Digital objects used by tourists such as mobile phones and cameras leaves a large amount of traces. The phone can indeed be geolocated through cell-phone antennas or GPS and digital cameras take pictures that people can upload on web sharing platforms such as Flickr. All of this enables new application that allow counting tourists or providing them with new sorts of services. Based on existing experiments, the presentation will describe how the tourism industry can benefit from these digital traces to obtain new representations of tourists activities and to build up new services based on them."

Then I'll go to Barcelona and join Fabien for the Lift @ Citilab workshop called "Hands on Barcelona's Informational Membrane" where a great bunch of people will tackle the increasing presence of the informational membrane hovering over Barcelona, exploring the implications (trade-offs, opportunities and concerns) and understanding how it affects the way citizens feel and live their city.

Three weeks ahead, on November 9th, I will organize a lift @ lift offices seminar (quite a name uh) at our offices about the "new digital landscape". We still have room for people and the event will be in french.

On November 26-27th, I’ll be in Paris (along with Julian, Adam, Jean-Louis, Frédéric and Daniel) for the the new industrial world forum 2009 at the Pompidou museum. I've been parachuted in a session about "new industrial objects", which sounds pretty good. The point of my speech would be to analyze a bunch of networked objects and highlight what how the Internet of Things features certain preconceptions about users. It's a research project I've been working over the summer.

Back to Paris on December 2nd for a workshop at Bell-Labs/Alcatel-Lucent.

December 4th will be devoted to the big workshop day we (lift) co-organize with Council (Rob van Kranenburg) and tinker.it. I'll be posting more information about this later on.

Paris again in January 2010 for a lecture about locative media at the EHESS for a seminar about transdiciplinarity organized by Antonio Casilli.

And finally (phew), I'll be at Interaction10 in Savannah to give a talk called "From Observing Failures to Provoking Them".

The evolution of the "amateur" figure

Raw notes from a presentation by André Gunthert at the Geneva University of Art and Design the other say:

Amateur photography appeared around 1880, after the transition between silver to silver-chloride... which led to photojournalism and scientific photography such as the work of Albert Londe. Curiously, Londe always referred to his work as an "amateur", although he was the medical photographer at the Salpêtrière Hospital in Paris (and perhaps one of the most famous chronophotographer with Étienne-Jules Marey. Gunthert's claim is that the reason why a photo expert such as Londe referred to him as an amateur was because he lived in a transitional time between the Daguerreotype and the new popular activity of photography. Claiming to be an amateur was a peculiar stance, an avant-garde choice that aimed at showing others that "he was on the other side, a promoter of the new technique".

The end of the 19th century saw the emergence of the new figure of the amateur, through Kodak's release of their camera ("You press the button, we do the rest"). To be an amateur at the time would be described today as being a "user" and it's because of the arrival of this stance that amateurs has been opposed to professionals.

However, it's only around 2005-2005 that amateurs became a threat to professionals. Gunthert traces this back to the London subway bombings. This event in July of 2005 can be seen as a turning point in global news coverage; especially because the news (BBC) asked survivors/witness to send them images (taken with cameraphones)... simply because they could not go there.

In parallel, Gunthert describes how the Web started to build its own mythology around the amateur ("We the Media" by Dan Gilmor, citizen journalism, the web2.0 slogan by Tim O'Reilly, etc.)... and eventually services such as YouTube in 2005 were explicitly built (and valued) for their capability to be based on "user-generated content".

To him, the best example of this trend is Be Kind Rewind, a sort of testimony to the notion of Amateur culture. Gunthert describes this movie as the nicest way to depict user-generated content because it shows HOW IT WAS SUPPOSED TO BE. A sort of YouTube were viewers will act as participant and create their own videos. This kind of expectations of course lead to laws and measures taken by governments in certain countries to help the the cultural industry... because lots of people believed in this myth.

But this vision did not materialize. He described them as self-fulfilling prophecies proposed by web gurus and showed that most of the content on platforms such as YouTube are not creations. There is indeed a great shift from television to platforms like YouTube but it's mostly an archive of past productions (with tons of copyright infringements). It's not only an archive but there are also ads and new forms of communication proposed by companies (see the Evian roller babies campaign).

He concluded by stating that most of the interest by researchers/media has been drawn so far to the production part of usage and that he is more interested in how people use these platforms. YouTube is now the second the web search engine and people access it to look for answers (e.g. how to fold a tent). To Gunthert, we are in 2009 in a situation close to the one people in the 20th century encountered with sound recording devices. At the time, inventors and industrial companies has high expectations about these machines, they were supposed to help produce content and store memories of people. But it did not happen and it was mostly employed to listen to music. Nevertheless this does not mean that people were passive and there are lots of interesting and active practices with regards to sound recording devices.

Why do I blog this? my notes here are a bit messy and incomplete. I tried to translate this roughly into English but I was quite interested by his approach. Of course, some other things could be added about the DIY culture and perhaps my transcription is a bit shaky but I found it intriguing to deconstruct the notion of amateurs and usage.

Science consultants in sci-fi shows

ON Sci-Fi wire, there is this curious description of how science consultants have been called to work in Star Trek/Battlestar Galactica:

"former Star Trek writer and creator of the re-imagined Battlestar Galactica Ron Moore revealed the secret formula to writing for Trek. He described how the writers would just insert "tech" into the scripts whenever they needed to resolve a story or plot line, then they'd have consultants fill in the appropriate words (aka technobabble) later.

"It became the solution to so many plot lines and so many stories," Moore said. "It was so mechanical that we had science consultants who would just come up with the words for us and we'd just write 'tech' in the script

La Forge: "Capain, the tech is overteching."

Picard: "Well, route the auxiliary tech to the tech, Mr. La Forge."

La Forge: "No, Captain. Captain, I've tried to tech the tech, and it won't work."

Picard: "Well, then we're doomed.""

Why do I blog this? Reference for later. This is a model for creating design fictions but I wonder about how to go beyond this. Using this kind of process may lead to a certain vision of the future that is very normative. Charles Stross describes on his blog how he works and it's more interesting to me:

"I use a somewhat more complex process to develop SF. I start by trying to draw a cognitive map of a culture, and then establish a handful of characters who are products of (and producers of) that culture. The culture in question differs from our own: there will be knowledge or techniques or tools that we don't have, and these have social effects and the social effects have second order effects — much as integrated circuits are useful and allow the mobile phone industry to exist and to add cheap camera chips to phones: and cheap camera chips in phones lead to happy slapping or sexting and other forms of behaviour that, thirty years ago, would have sounded science fictional. And then I have to work with characters who arise naturally from this culture and take this stuff for granted, and try and think myself inside their heads. Then I start looking for a source of conflict, and work out what cognitive or technological tools my protagonists will likely turn to to deal with it. (...) The biggest weakness of the entire genre is this: the protagonists don't tell us anything interesting about the human condition under science fictional circumstances. The scriptwriters and producers have thrown away the key tool that makes SF interesting and useful in the first place, by relegating "tech" to a token afterthought rather than an integral part of plot and characterization."

Information convergence

A korean letter box, a great example of a how a certain object acts as a focal point for information flows: letters go in the box and announcements/ads are stuck on the object itself.

Design research typology

In Research Through Design and Transdisciplinarity, Alain Findeli and his colleagues (Swiss Design Network conference 2008) interestingly propose a tentative framework for Design Research.

Their typology of design research practices goes like this:

• "Research for design is highly relevant for design practice, since its purpose is to make sure that the various parameters on which the output of the design process depends (technological, ergonomic, economic, aesthetic, psychological, etc.) are adequately handled, i. e. that the design project is properly and responsibly informed.
• Research about design is normally performed by various disciplines, other than design, according to scientific standards. (...) The problem we encounter with this kind of research is its relative lack of relevance for design. By “design” is here meant design practice, design education or design research. Why is that so? Well, because the research is carried out about design (i.e. about its objects, its processes, its actors and stakeholders, its meaning and significance for society, business, culture, etc.) by scientists (like anthropologists, archaeologists, historians, cognitive psychologists, management scientists, semioticists and many others) whose main goal is to contribute to the advancement of their own discipline, not particularly of design.
• Research through Design: a kind of re- search about design [more] relevant for design, or as a kind of research for design that produces original knowledge with as rigorous [and demanding] standards as research about design. (...) we call this approach project-grounded research "

Why do I blog this? framing my course about field research for design leads me to this sort of theoretical categories.

Teaching in Geneva

This fall, I will be teaching at the Geneva University of Art and Design in the Media Design Masters program. Hence, a "teaching" category on this blog. Today was the introductory course about methodology, which I chose to illustrate through the example of game design and user research (slides are here but it's a french-only version, sorry I'll do the others in English though).

My 8*4-hours course will be about field research for interaction designers. After an introductory course about the field research rationale (research questions, theoretical frameworks, sampling issues, etc.) each course will cover a different technique (participant observation, visual ethnography, interview, probes, "user of the future", evaluation). For each session, students would have to apply a certain technique to a design problem of theirs, related to the design studio by Etienne and Douglas-Edric.

Currently pondering about which platform to support the course (weblog, CMS, etc.). Any recommendations about it? I personally want to find a basic solution to spread slides/articles and something which enable conversations with students. The current solution I have in mind may be a wordpress blog but I am wondering about other approaches.

Content-Reader evolution

Flea market findings again. Saturday way rainy but i found my way to the market and stumbled across these various elements.

A quite enjoyable picture that roughly depicts a part of the musical devices evolution. This topic emerged from a discussion with Laurence, one of the design student I supervise for a masters thesis. As opposed to the tape and CD cases - where the device's shape was constrained by the shape of the tapes and CD - the MP3 player required some thinking about its overall shape.

The content is reduced to something smaller than the CD and the tape (I wouldn't go as far as stating that it's immaterial because the MP3s files are located on some sort of electronic component IN the device). However, it raise the issue of the general shape regardless of the content.

Nintendo "technical lineage"

Following the evolution of technical objects over time generally reveals interesting matter. Philosophers such as Gilbert Simondon theorized a bit this issue and proposed that technical evolution shows phases of continuous progress (based on adaptation) alternating with other phases that he called "saturation" during which major improvement emerge as a reconfiguration of the structure (invention).

Applying this to recent artifacts such as game console is quite interesting (yes game console are recent compared to the kind of technical objects philosophers take as examples). The Nintendo DS as a resurgence of the "game and watch" industrial design is a curious instance of such principles. The dual screen, as well as the clam-shell platform (plus the A and B buttons) can be seen as the major characteristics of this resurgence. However, the D-pad is clearly an invention that appeared after the game and watch interface. There would - of course - be a lot more to analyze here.

Why do I blog this? digging more and more into the philosophy of technical objects in conjunction with frequent visits to the flea market leads to fruitful thinking/discussions about design.

Earth Sandwich

Making an "Earth sandwich" is a curious practice found in Generation A by Douglas Coupland which was originally proposed by Ze Frank:

"I’d taken a slice of boring white bread from its bakery bag and had slapped it onto a small patch of yellow sandy dirt. I was standing up to photograph the slice of bread using my mobile phone. Why would you have been doing this? I hear you wonder. Excellent question. I was making an “Earth sandwich.” What is an Earth sandwich? Fair enough. It’s when you use online maps to locate the exact opposite place on the planet from you, and then hook up with someone close to that place. Then, after you mathematically figure out exact opposite GPS coordinates to within a thumbnail’s radius, you put a slice of bread on that spot, then connect via cellphone and simultaneously snap photos: two slices of bread with a planet between them. It’s an Internet thing. You make the sandwich, you post it, and maybe someone somewhere will see it, and once they’ve seen it, you’ve created art. Bingo.

Why do I blog this? this sort of ludic practice automatically found its way to my list of locative-technologies-repurposed-for-other-aims. Perhaps some sort of new and extreme ritual from the 21st Century (definitely the kind of ideas that Coupland document/describe/invent). Let's wait for the iPhone app, I am pretty sure someone out there would be willing to develop it.

Such idea sounds weird but I am convinced there would be some curious possibilities in interaction design, a sort of long-distance location-awareness if you want. Much of the focus in human-computer interaction research and product development revolves around the notion that location-awareness makes sense at the urban level (or national). The granularity is generally low, A gets a message that B is nearby (neighborhood/in town) and acts accordingly.

However, the Earth sandwich practice/meme is interesting from the long-distance viewpoint. Are there situations (casual or professional) where it's pertinent to know where others are? Should the granularity be different than current mobile social software? I guess so although I don't really know a precise use case. Maybe diaspora and families spread across the globe may be curious about it.

Karl Gerstner on design models

Note to self: take more time reading this curious book by Karl Gerstner, a swiss typographer. It's a document about his design process in the early days of the computer era. Definitely not about recipes and direct solutions, it's rather a sort of reflection on possible design models.

Perhaps it's a tad too oriented towards graphic-design but there seems to be some interesting elements in there that go beyond this domain.

Why do I blog this? gathering notes for an introductory course next week about design processes in various contexts.

In and Out

Seen two weeks ago in Seoul, a cultural peak in what goes in and what goes out

Sensory anomalies

This morning, while preparing my upcoming course, I stumbled across this great chapter about Sensory Anomalies by Michael Naimark. Some excerpt I found relevant below:

"The single biggest difference between first-hand and mediated experiences is whether sensory anomalies exist. There are none in first-hand experience. Such anomalies always have explanations (...) The physical world obeys the laws of science. When we experience anomalies in the physical world, it's due to human hardware or software issues, such as blindness or psychosis, not because of the environment. (...) "Virtual Reality", in its theoretical construct, is the merging of the feeling of first-hand experience with the freedom from physical-world constraints. (...) the goal is indistinguishability from first-hand experience in the physical world: "just like being there." Such VR doesn't exist and may never (at least not without electrodes). So for now, we live with even the best sensory media having some degree of anomalies. These anomalies are not intentional, and entire industries exist to make higher resolution cameras, better synthesized lighting models, and auto-stereoscopic displays."

In the chapter, Naimark describes several projects that both transcend and exploit sensory anomalies as well as give a series of observations about what happens. It leads him to the following conclusion:

"Sensory anomalies are funny things (...) Metaphor to some is violation to others. "Faithful representation" is a noble engineering goal, but things aren’t quite as clear in art and design. To confuse, or clarify, things further, good metaphor can often be a form of shorthand. If we share similar cultures, backgrounds, or personal experiences, metaphor is a form of abstraction, of compression. So in the end, the degree of faithfulness and the degree of violation depend on what we want to say. "

Why do I blog this? I really love these lines. They very much echo with recent discussions I had with people from the game industry who aim at jumping over the Uncanny Valley. The notion of preferable anomaly seems more appealing to me in terms of opportunities and design constraints.

The image above was taken yesterday at Share GVA, an audiovisual jam session for media artists and technicians that I attended. The whole event ( my picture too, actually) are based on toying with sensory anomalies.

Meme circulation: Parking Wars

The "Parking Wars" application on Facebook was certainly one my favorite game two years ago. I gave it a shot for 3-4 months and then let it go (although one my friend is a "$28,699,245 (Parker Emeritus)". Besides it may have been the only application that attracted me to log in on Facebook back in 2006.

The game, designed by Area/Code was actually a facebook app that was meant to promote a television show:

" In Parking Wars, players earn money by parking -- legally or illegally -- on their friend's streets. Players also collect fines by ticketing illegally parked cars on their own street."

What was fantastic at the time was the fact that this simple games app took advantage of the FB social graphs in curious ways:

• The underlying logic is simple: you need to have friends to park your cars on their street. The point is therefore to maximize the number of friends who play Parking War... which leads player to participate in the network effect through invitations (on top of word-of-mouth).
• The game is asynchronous and turn-based so it's good to find friends on different time-shift so that you could place/remove your car when they sleep (a moment during which you don't risk to get any fine).
• When giving a fine you can send messages to other players, the dynamic here is highly interesting as people repurposed it into some weird communication channel that is public but that address a different audience than the Facebook wall
• Competition is stimulated with a peculiar kind of score board: you only see scores from other players within your network (who added the game). This is thus a sort of micro-community where each participants' score is made explicit.
• The "level design" is also interesting with a "neighbor" feature that enable you to park on adjacent streets, which can be owned by people outside your network.
• The cheating tricks are also social: you can less-active FB users to add the game so that you're pretty sure they won't check that you're illegally parked, you can create a fake FB account or benefit from streets created by people who stopped playing.
• ... and I am sure there is more to it from the social POV

Interestingly, my curiosity towards Parking Wars came back up to the surface when chatting with my neighbor Basile Zimmermann who works as research scientist at the University of Geneva. In a recent project, he addressed how Chinese Social Networking Sites re-interpreted design concepts already used by existing platforms such as FB and turned them into something different.

Which is how he showed me a curious application he saw on a Chinese SNS called "开心网 / Kaixin001" ("Happy Network") that is a Parking Wars-inspired copy also called "争车位" ("Parking Wars") which appeared in July 2008:

The layout is similar to the one created by Area/code, some cars are more fancy than others but the main difference lies in the presence of advertisement (as shown by the "LG" brand). As a matter of fact, the ad part was not included in the first few months of this Parking Wars version on the Happy Network and it appeared approximately around March 2009 according to Basile. From what I'm told, the game is evolving too with a system of maps that operates differently from the FB version.

More explanation in his upcoming paper about this topic: Zimmermann, B. (forthcoming). "Analyzing Social Networking Web Sites: The Design of Happy Network in China" in Global Design History, Adamson, Teasley and Riello eds, Routledge.

Why do I blog this? dual interest here: 1) my fascination towards Parking Wars and its underlying game design mechanism based on social dimensions, 2) the transfer of this meme in another culture.

Digital activities

Digital activities made explicit on paper for wanna-be customers in Paris. My favorite is the umbrella term "Use Internet" which sounds so vague, intriguing and full of possibilities that the other looks pedestrian and instrumental.

Also look at the difference between the French and the English version. For instance, in French it is not specified that Skype requires a microphone, while it is the case in English.

Hand-free phone usage

Hands-free phone usage without hands-free kit in Itaewon, Seoul last week. Always impressed by how people trust their phone not to fall down in such configuration.

Korean "you are here"

Why do I blog this? the "you are here" sign is a common wayfinding element that is always interesting to observe. Stating where people are can take many forms ranging from ubiquitous red dots (w/o captions) to interactive LED and the context can also influence the signage.

Cognitive sciences deal with this issue and state different criteria to evaluate what they call "YAH" (you are here maps). See for instance You-Are-Here Maps in Emergencies – The Danger of Getting Lost by Klippel, Freksa and Winter which summarize the literature about this:

• "Local placement: One important aspect of the local placement of YAH maps is the use of asymmetries to facilitate locating the map within the environment. An asymmetrical part of an environment is easily identified on the map as its layout combined with the YAH symbol (see below) shown on the map provides many cues for its location. Therefore, the location of the map in the environment becomes non-ambiguous.
• Correspondence: YAH maps should allow for easily establishing a correspondence between the represented information and the information that is immediately erceptible. While locating oneself should be guided by a YAH symbol (see below), several aspects contribute to whether or not the orientation within an environment can be accomplished easily:
  • Alignment: The YAH map and the environment should be aligned.
  • Architectural cues: YAH maps should be designed such that architectural cues and natural landmarks are included and that the shape of the route drawn in the YAH map relates to the actual shape of the route the user has to take in the environment, i.e. the behavioural pattern depicted corresponds to the behavioural pattern to be carried out
  • YAH symbol: The YAH symbol fulfils two tasks: First, it locates the user within an environment; second, it should indicate the user's orientation with respect to her immediate surroundings (...) The double function can be achieved by combining a dot with an arrow or by a triangular shaped symbol designs.
• Alignment of text in the map: The text in a map should be generally readable without requiring to turn one's head.
• Repetition: Combining the principles mentioned above may allow for easier self-localization, orientation and determination of the route to the destination."

The principles can be employed as a mean to evalate YAH maps as well as a way to design and place then in the environment. As a matter of fact, they can also be interesting if you want to automate a "you are here" system through LBS. The level of mobility (or immobility) would then be an additional factor (in-car GPS versus pedestrian versus bike). There is a whole world to explore here in terms of user/field studies.